Delibes: Lakmé (1998) more music like this

performed by Bernadette Antoine (vocals), Charles Burles (vocals), Delphine Haidan (vocals), Franck Leguerinel (vocals), Gregory Kunde (vocals), José van Dam (vocals), Natalie Dessay (vocals), Patricia Petibon (vocals), Xenia Konsek (vocals)
composed by Léo Delibes

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Opera: New Generation (2007) more music like this

performed by Anne Sofie von Otter (alto), David Daniels (counter tenor), Dawn Upshaw (soprano), Elina Garanca (mezzo-soprano), Emmanuelle Haïm (harpsichord), Felicity Lott (soprano), Ian Bostridge (tenor), Ildebrando D'Arcangelo (bass), José van Dam (baritone)
composed by Antonio Vivaldi, Charles Gounod, Christoph Willibald Gluck, Claudio Monteverdi, Gaetano Donizetti, George Frederick Handel, Giacomo Puccini, Gioachino Rossini, Giuseppe Verdi, Hector Berlioz, Henry Purcell, Jacques Offenbach, Jean-Philippe Rameau

This two-disc set is a sampler of operatic singers from the corporately related Virgin Classics and EMI labels, and like most such samplers it delivers a good deal less than it promises. The marketing is scattershot, for one thing: the two-disc set purports to offer both the "new generation" of singers and "greatest arias" -- whether of these ...

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Massenet: Werther (1999) more music like this

performed by Angela Gheorghiu (vocals), Jean-Marie Fremeau (vocals), Jean-Paul Fouchecourt (vocals), Jean-Philippe Courtis (vocals), Patricia Petibon (vocals), Pierre Dupont (vocals), Roberto Alagna (vocals), Sophie Boulanger (vocals), Thomas Hampson (vocals)
composed by Jules Massenet

Antonio Pappano leads a sensuous and dramatically taut reading of Werther on EMI's reissue of its 1999 all-star release. Werther is one of the most intimate and interior of operas, and Pappano successfully captures the mood of the protagonist's turmoil that constitutes its real drama. The leads are in strong voice and make dramatic impressions as ...

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Handel: Acis and Galatea more music like this

performed by Alan Ewing (bass), Andrew Sinclair (tenor), David Le Monnier (baritone), Francois Piolino (tenor), Joseph Cornwell (tenor), Les Arts Florissants, Patricia Petibon (soprano), Paul Agnew (tenor), Sophie Daneman (soprano), William Christie (conductor)
composed by George Frederick Handel

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Heavenly Handel: Arias and Duets (2004) more music like this

performed by Anna Bonitatibus (mezzo-soprano), Antonio Abete (baritone), Arleen Augér (soprano), David Daniels (counter tenor), Della Jones (mezzo-soprano), Derek Lee Ragin (counter tenor), Ensemble Orchestral de Paris, Gerard Lesne (alto)
composed by George Frederick Handel

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Handel: Arcadian Duets (2002) more music like this

performed by Anna-Maria Panzarella (soprano), Brian Asawa (counter tenor), Emmanuelle Haïm (organ), Emmanuelle Haïm (harpsichord), Juanita Lascarro (soprano), Laura Claycomb (soprano), Le Concert d'Astrée, Natalie Dessay (soprano), Patricia Petibon (soprano)
composed by George Frederick Handel

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Offenbach: Orphée aux enfers (1998) more music like this

performed by Etienne Lescroart (vocals), Ewa Podles (vocals), Jean-Paul Fouchecourt (vocals), Jennifer Smith (vocals), Laurent Naouri (vocals), Natalie Dessay (vocals), Patricia Petibon (vocals), Steven Cole (vocals), Véronique Gens (vocals), Virginie Pochon (vocals)
composed by Jacques Offenbach

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Haydn: Armida (2000) more music like this

performed by Cecilia Bartoli (vocals), Christoph Prégardien (vocals), Concentus Musicus Wien, Markus Schafer (vocals), Oliver Widmer (vocals), Patricia Petibon (vocals), Scot Weir (vocals), Nikolaus Harnoncourt (conductor)
composed by Franz Joseph Haydn

see all copies from $29.99!

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Offenbach Highlights (2007) more music like this

performed by Alain Gabriel (vocals), Eric Huchet (vocals), Etienne Lescroart (vocals), Felicity Lott (vocals), Franck Leguerinel (vocals), François Le Roux (vocals), Jean-Paul Fouchecourt (vocals), Jennifer Smith (vocals), Laurent Alvaro (vocals)
composed by Jacques Offenbach

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Charpentier:La Descente D'Orphée Aus Enfers H.488 more music like this

performed by Anne-Marie Lasla (bass viol), Elizabeth Kenny (lute), Fernando Bernhardi (bass), Fernando Bernhardi (baritone), Francois Piolino (tenor), Isabel Serrano (violin), Jean-Francois Gardeil (bass), Kaori Uemura (bass viol), Katalin Károlyi (alto)
composed by Marc-Antoine Charpentier

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Couperin: Leçons de Ténèbres (1997) more music like this

performed by Les Arts Florissants, Patricia Petibon (soprano), Sophie Daneman (soprano), William Christie (harpsichord), William Christie (conductor)
composed by François Couperin

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Mozart: Die Entführung aus dem Serail (1999) more music like this

performed by Alan Ewing (vocals), Christine Schäfer (vocals), Iain Paton (vocals), Ian Bostridge (vocals), Les Arts Florissants, Patricia Petibon (vocals)
composed by Wolfgang Amadeus Mozart

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Stefano Landi: Il Sant' Alessio more music like this

performed by Armand Gavrilidès (alto), Bertrand Bontoux (bass), Cecile Eloir (soprano), Christopher Josey (tenor), Clive Bayley (bass), Katalin Károlyi (alto), Les Arts Florissants, Maryseult Wieczorek (soprano), Mhairi Lawson (soprano), Nicolas Rivenq (bass)
composed by Stefano Landi

Stefano Landi, who was Monteverdi's junior by about 20 years, was active in Rome, whereas Monteverdi was based in Venice. Landi spent two formative years in Venice, though, and absorbed the progressive musical ideas of Monteverdi and other seconda prattica composers. That contact would explain why Il Sant'Alessio (1632) sounds like a Monteverdi ...

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Rameau: Hippolyte et Aricie more music like this

performed by Anna-Maria Panzarella (soprano), Bertrand Bontoux (bass), Christopher Josey (tenor), David Le Monnier (baritone), Eirian James (mezzo-soprano), Francois Piolino (tenor), Galle Mechaly (soprano), Katalin Károlyi (mezzo-soprano), Laurent Naouri (bass)
composed by Jean-Philippe Rameau

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Landi: Il Sant' Alessio more music like this

performed by Armand Gavrilidès (alto), Bernadette Charbonnier (violin), Bertrand Bontoux (bass), Cecile Eloir (soprano), Christopher Josey (tenor), Clive Bayley (bass), George Willms (violin), Isabel Serrano (violin), Katalin Károlyi (alto), Martha Moor (violin)
composed by Stefano Landi

Stefano Landi, who was Monteverdi's junior by about 20 years, was active in Rome, whereas Monteverdi was based in Venice. Landi spent two formative years in Venice, though, and absorbed the progressive musical ideas of Monteverdi and other seconda prattica composers. That contact would explain why Il Sant'Alessio (1632) sounds like a Monteverdi ...

see all copies from $18.99!

new only from $18.99!

Handel Edition: Acis and Galatea; Theodora; Cantatas [Box Set] (2008) more music like this

performed by Alan Ewing (bass), Daniel Taylor (alto), Eva Mei (soprano), Joseph Cornwell (tenor), Juliette Galstian (mezzo-soprano), Layrent Slaars (bass), Les Arts Florissants, Nathan Berg (baritone), Patricia Petibon (soprano), Paul Agnew (tenor)
composed by George Frederick Handel

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Amoureuses (2008) more music like this

performed by Patricia Petibon (soprano), Concerto Köln, Daniel Harding (conductor)
composed by Christoph Willibald Gluck, Franz Joseph Haydn, Wolfgang Amadeus Mozart

see all copies from $15.18!

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Les Fantaisies de Patricia Petibon (2003) more music like this

performed by Catherine King (mezzo-soprano), Europa Galante, Laura Polverelli (contralto), Le Concert d'Astrée, Les Folies Françoises, Matthew Schwinghammer (piano), Orchestre de Chambre de Grenoble, Patricia Petibon (soprano), Paul Agnew (tenor), Susan Manoff (piano)
composed by Antonio Caldara, George Frederick Handel, Jacques Offenbach, Jean-Philippe Rameau, Leonard Bernstein, Malcolm Bruno, Norman Dello Joio, Samuel Barber

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Haydn: Orlando Paladino (2006) more music like this

performed by Christian Gerhaher (baritone), Elisabeth von Magnus (mezzo-soprano), Florian Boesch (bass), Johannes Kalpers (tenor), Malin Hartelius (soprano), Markus Schafer (tenor), Michael Schade (tenor), Patricia Petibon (soprano), Werner Güra (tenor)
composed by Franz Joseph Haydn

Haydn's operas lag substantially behind the rest of his output in terms of popularity. It wasn't that he was disinclined to write for voices, as anyone who has heard his late choral masterpieces will testify. More likely, the problem is that the formally simple, melodically oriented language of serious opera in his time offered little scope for an ...

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